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Posted by HUB on June 13, 2001 at 13:03:16:
In Reply to: Re: Different viewpoints... posted by paige on June 13, 2001 at 10:40:28:
: El Pájaro said:
: : It looks like different viewpoints have been tossed here. When I made that suggestion, I was careful enough to stress it was NOT the only way to get through the changes, but just one possible approach.
: : And, by the way, I don't believe the chord/scale concept will necessarily "destroy any kind of melodic continuity". There ARE ways to smoothly and melodically find your way from one chord/scale to another -you just have to do the homework on this one. There's a motherload of recordings that prove this very point.
: : Buena suerte and keep your basses up front in the mix,
: : El Pájaro
: Sometimes folks have to hear something in several different ways before things start to click. I, for one, can't make sense out of soloing from a scalar perspective - that methodology just doesn't communicate to me. Working from chords, and chord progressions and substitutions etc is what it takes to get my creative juices flowing and is what allows me to understand what I need to do to pull a good solo out of my bass. But I do know others to whom the way I do things does nothing but confuse them. I am unabashedly in the CArol Kaye camp here - I really believe the chordal approach is the best way to approach soloing; but having said that - the bottom line is simply this:
: What inspires you to play your best? Are you open to new ideas? Are you willing to listen to what someone else says?
: I teach bass at my local music store, and I don't teach scales as a basis for soloing (I do teach scales from the angle of learning your way around on the neck)- as I said I am a chordal type guy... but you know what happens sometimes? The student and I will discuss the chords of a tune, why the changes are the way they are, and substitutions that could be used for note selection during a solo section etc. Then when he/she gets around to actually playing, they will use the note selections we discussed and lo and behold.... a Pentatonic scale falls off the fretboard... same notes, same intervals arrived at from a different direction.
: I understand folks have strong opinions about this stuff - and that's good, to a point. I am VERY strongly in the chordal approach camp... but others aren't. The proof is in the playing. If you rip out a beautiful solo and your methodology is to meditate on belly-button lint while you solo and that's where your inspiration and musical ideas come from.... cool - I won't do it that way - but the point is simple... are you making music?
: ooops... sorry - I'm off my soapbox now.
I see no reason to start a pissing match here, the original question was from a beginner, so get over all of the technical garbage of what is right and what is wrong, everybodies ideas are correct, except the Trisub one. One has to understand functional harmony first, that will allow them to understand this type of substitution, which in the context of the progression, is actually heard as part of the key....i.e. functional harmony....i.e secondary dominants.
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